Abstract
The article has looked into the issue of the violence of representation and its self-sustaining nature through juxtaposition of Francis Bacon's triptychs and painting of George Dyer and the analysis of Luigi Pirandello's Uno, nessuno e centomila. The analysis of the dynamics of the gaze has foregrounded face as a space of one's engagement with the nature of representation.
The application of the term sensation as used in visual arts has revealed the dynamics of de-validating and de-authenticated image production as the space of fluidity. By using the theoretical framework of Slavoj Žižek, Judith Butler, Jacques Lacan, and Gilles Deleuze, and comparing Bacon's portraits of George Dyer to the case of Moscarda explored by Pirandello, it has been demonstrated that the modalities of the violence of representation are interdependent.
Using Jean-Francois Lyotard's proposition of a regulatory element produced within such interaction, it has been shown that both Pirandello and Bacon oppose theoretical abstraction as violence to lived experience.